所謂紫(zi)砂(sha)明(ming)針(zhen)是(shi)紫(zi)砂(sha)壺(hu)(hu)加工成(cheng)型中必不可(ke)少的工具之(zhi)一,是(shi)最考驗藝(yi)人制壺(hu)(hu)水(shui)平的一項重(zhong)要工藝(yi)。"光明(ming)針(zhen)"是(shi)宜興紫(zi)砂(sha)壺(hu)(hu)成(cheng)型工序(xu),“明(ming)針(zhen)”也可(ke)指紫(zi)砂(sha)壺(hu)(hu)表面(mian)精加工的主(zhu)要工具。
紫砂明針俗稱”牛角片“,以牛角制(zhi)者為最(zui)佳且(qie)最(zui)為普遍。削刮成不同形狀(zhuang)不同厚(hou)度用于光壺身、壺嘴、壺把、壺蓋、筋紋等表(biao)面。
先將坯體(ti)(ti)表(biao)面的(de)粗泥粒子(zi),向坯體(ti)(ti)里(li)擠壓,使泥漿浮出,從而(er)形成一細膩(ni)的(de)表(biao)層(ceng),讓坯體(ti)(ti)表(biao)面光可明鑒。而(er)坯體(ti)(ti)內(nei)部保持(chi)紫砂體(ti)(ti)表(biao)面泥層(ceng)之下,因未經(jing)加(jia)工,泥料(liao)礦物組成和顆粒的(de)堆(dui)積,使坯體(ti)(ti)內(nei)保持(chi)紫砂特(te)有的(de)疏松間隙,經(jing)過(guo)燒制后,則壺(hu)體(ti)(ti)產生雙層(ceng)氣孔,具有透氣、吸(xi)水的(de)特(te)點。
簡而(er)言之,明(ming)針可使紫砂壺表面光(guang)滑,壺內結構氣(qi)孔(kong)增多,這樣的紫砂壺既美觀、呈現藝術性,另(ling)一方面泡茶(cha)也能更好喝。
宜興紫砂器,由獨特的紫砂泥形成的手工成型方式,即泥片鑲接法和打身筒法。
宜興紫砂陶土,屬粉砂質泥巖,有其優異的顆粒組成,經拍打擠壓,使粗顆粒向內聚合,細顆粒于表面浮起,并產生良好的可塑性和結合性,它以手工成型方式,制作成千姿萬態的紫砂壺造型。造型藝術中堪稱世界之最,不受任何限制。古今中外的形態、結構都可以制陶表述,造型的復雜性以壺為最。悠久宜興紫砂壺、溯其淵源,它在一九五六年前一直采用全手工成型方式制作,其間亦采用紫砂陶模作為輔助工具。它一可規正形態、二可提高產量。少量精陶的名品,仍以全手工制作。但工藝上不可遺忘,它是借助于距車規正尺度、以樣板達到精度,用各式專用小工具、表達制作工藝的雅致精到。紫砂泥的優異性在于可反復地添加和削減,用套缸保持坯體的溫度,紫砂泥可滋潤,干燥膨脹的吸附性能。如油畫顏料一樣,成年累月地推敲、修琢達到“藝不精人辭不休”的境地。
常規產品一直以全手工成型方式制作,成年累月地反復制作,已形成熟練的工序和相應的專用工具,并作為生計,故有些紫砂藝人,一輩子僅作幾種款式,如流行最多的幾種特定款式,如魚畫龍、梅桃柿扁、壽星、洋桶等等。造型款式盡管相同,由于藝人的品相眼光不同(藝術修養)、同一品種感覺并不一樣。在同行業中藝人有高下之分,制作工價不等。一九五六年,宜興紫砂蜀山陶業社成立之后,方才采用石膏模擋坯成型,用于制作小紅泥水平壺,這在當時已是技術革新的一大進步。一九五九年紫砂廠派人員在無錫惠山泥人廠學習石膏模制作,并在宜興紫砂廠內成立模型組,從而推廣石膏模具作為商品壺的輔助工具。一為統一容量規格,二為選用優秀造型風格,并加以推廣,其式樣都是大師級優秀藝人設計制作的。論造型藝術,文革前常規陶瓷工藝分注漿成型、機制成型、擋坯模型成型、手工成型等。宜興紫砂陶只適宜手工成型,從商業角度從屬手工藝類的紫砂壺造型,比較經得起推敲,制作工藝受工時定額限制相對比較粗糙。
宜興紫砂全手工成型,也許是二○○○年之后制造的神話。人與動物的差異在利用和制造工具,全手工成型是完成設計制作的全過程,每道工序都要制作專用工具來完成,達到預先設想的要求。所用工具的材料有竹、木、鐵、銅、塑料、牛角等,為解決形態的變化、凹凸、粗細、轉折、細部加工,光潤細膩的表面肌理,塑造形態的質感。輔助模具從陶模進化到石膏模、樹脂模、金屬模、塑料模。采用工具僅僅是達到效果的手段而已。關鍵是處理造型完成后的精氣神韻,予人的視覺感官,品茗觀賞的功效,收藏品鑒的藝術價值。
張揚宜興紫砂全手工成型,僅僅是紫砂成型技法的特異性,它是由其紫砂泥材質決定的,從一九五六年開始技術革新,歷史上曾有過騾鑼車成型“農家樂壺”,車制壺身、鐵模型壓制壺蓋,注漿壺嘴,手工修坯終因工藝粗糙,費工費時而告終。亦有過注漿生產高級工藝品“牡丹壺”、“蛤蟆蓮蓬壺”,手工修坯也因費工費時,質次價高而告休止。宜興紫砂工藝廠從1956年到1985年,花整整二十年時間搞技術革新,因違反紫砂本有的工藝規律,從而重新回到手工成型的方式上制作宜興紫砂壺。全手工成型過程中的“全”,完全可以做到。這是工具加工工藝的功勞,并非手指間的功夫,憑空制作的捏塑。全手工成型的“方器”,比模具制作快捷、精到。“花塑器”、“筋紋器”需要制作較多的工模具,方可制作的精確些。園器固其造型簡潔,用全手工打身筒制作,來得快捷而富有神韻和張力。全手工成型是紫砂工藝的一個工程、采用何種工具、模具處決于它的形態和工藝效果,具體問題應作具體客觀的分析,并非一概而論。
全(quan)(quan)手(shou)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)成(cheng)(cheng)型(xing)(xing)(xing)制(zhi)(zhi)(zhi)作(zuo),藝(yi)(yi)(yi)人(ren)(ren)(ren)們有(you)(you)(you)(you)句口頭禪(chan):“三蒔不入樣”。即制(zhi)(zhi)(zhi)作(zuo)三次(ci)全(quan)(quan)過程(cheng),逐步改(gai)進,優(you)化后,方才悅人(ren)(ren)(ren)心目(mu),流(liu)入市場,被購(gou)買人(ren)(ren)(ren)接受(shou)。歷(li)代傳(chuan)統(tong)造(zao)(zao)型(xing)(xing)(xing),何(he)以廣為流(liu)傳(chuan),視為經典之作(zuo)。它(ta)(ta)(ta)(ta)經幾代藝(yi)(yi)(yi)人(ren)(ren)(ren)的(de)(de)(de)(de)(de)改(gai)進,推敲(qiao)方為成(cheng)(cheng)器(qi)。曼(man)生十八式,出自楊彭年之手(shou),終因時(shi)間緊,被后人(ren)(ren)(ren)評為工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)不精湛、有(you)(you)(you)(you)待改(gai)進的(de)(de)(de)(de)(de)地(di)方。名人(ren)(ren)(ren)名家(jia)之所(suo)(suo)以成(cheng)(cheng)為名家(jia),對紫(zi)(zi)砂(sha)造(zao)(zao)型(xing)(xing)(xing)藝(yi)(yi)(yi)術(shu)都有(you)(you)(you)(you)獨到之處,對紫(zi)(zi)砂(sha)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)計(ji)(ji)(ji)較(jiao)的(de)(de)(de)(de)(de)理(li)解(jie),上(shang)升為紫(zi)(zi)砂(sha)語言。曼(man)生壺優(you)秀(xiu)(xiu)的(de)(de)(de)(de)(de)設(she)計(ji)(ji)(ji)和(he)獨到的(de)(de)(de)(de)(de)構(gou)思,完(wan)成(cheng)(cheng)這一(yi)構(gou)想,仍需優(you)秀(xiu)(xiu)的(de)(de)(de)(de)(de)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)去(qu)解(jie)決(jue),反(fan)復(fu)(fu)推敲(qiao)制(zhi)(zhi)(zhi)作(zuo)專用(yong)(yong)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)具(ju)(ju),設(she)計(ji)(ji)(ji)與施工(gong)(gong)(gong)(gong)(gong)(gong)(gong)相(xiang)配合,方可造(zao)(zao)就精美(mei)(mei)(mei)的(de)(de)(de)(de)(de)型(xing)(xing)(xing)器(qi)。它(ta)(ta)(ta)(ta)是(shi)一(yi)個系(xi)統(tong)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)程(cheng),歷(li)代紫(zi)(zi)砂(sha)優(you)秀(xiu)(xiu)造(zao)(zao)型(xing)(xing)(xing),它(ta)(ta)(ta)(ta)是(shi)由(you)造(zao)(zao)型(xing)(xing)(xing)外觀制(zhi)(zhi)(zhi)作(zuo)技(ji)巧,陶(tao)瓷工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi),功(gong)能效用(yong)(yong)所(suo)(suo)決(jue)定的(de)(de)(de)(de)(de),自它(ta)(ta)(ta)(ta)的(de)(de)(de)(de)(de)問(wen)世(shi)至今,一(yi)直(zhi)經久不衰,被人(ren)(ren)(ren)們珍(zhen)視。評定壺藝(yi)(yi)(yi)的(de)(de)(de)(de)(de)的(de)(de)(de)(de)(de)標準:一(yi)是(shi)紫(zi)(zi)砂(sha)材質 ,色澤純正、肌理(li)豐(feng)富(fu)。二是(shi)造(zao)(zao)型(xing)(xing)(xing)外觀,形態完(wan)美(mei)(mei)(mei)、氣質顯然。三是(shi)制(zhi)(zhi)(zhi)作(zuo)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi),精工(gong)(gong)(gong)(gong)(gong)(gong)(gong)修琢、巧奪天(tian)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)。四是(shi)印章(zhang)題款,氣質高雅、易辨真(zhen)偽。五是(shi)陶(tao)瓷工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi),燒成(cheng)(cheng)、加工(gong)(gong)(gong)(gong)(gong)(gong)(gong)到位,采用(yong)(yong)全(quan)(quan)手(shou)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)成(cheng)(cheng)型(xing)(xing)(xing),達(da)到完(wan)美(mei)(mei)(mei)的(de)(de)(de)(de)(de)程(cheng)度比率較(jiao)高。當今諸(zhu)多(duo)的(de)(de)(de)(de)(de)紫(zi)(zi)砂(sha)藝(yi)(yi)(yi)人(ren)(ren)(ren),一(yi)般根據(ju)設(she)計(ji)(ji)(ji)形態的(de)(de)(de)(de)(de)要求,追求的(de)(de)(de)(de)(de)藝(yi)(yi)(yi)術(shu)效果來決(jue)定采用(yong)(yong)何(he)種成(cheng)(cheng)型(xing)(xing)(xing)方式和(he)制(zhi)(zhi)(zhi)作(zuo)過程(cheng),它(ta)(ta)(ta)(ta)包(bao)含許多(duo)從藝(yi)(yi)(yi)所(suo)(suo)經歷(li)積累的(de)(de)(de)(de)(de)成(cheng)(cheng)功(gong)經驗。名品經典之作(zuo),往往采用(yong)(yong)全(quan)(quan)手(shou)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)制(zhi)(zhi)(zhi)作(zuo),配制(zhi)(zhi)(zhi)相(xiang)應(ying)的(de)(de)(de)(de)(de)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)模(mo)具(ju)(ju)。三時(shi)不入樣,精心制(zhi)(zhi)(zhi)作(zuo)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)模(mo)具(ju)(ju),也許是(shi)一(yi)條規律,初稿(gao)是(shi)成(cheng)(cheng)器(qi)的(de)(de)(de)(de)(de)雛(chu)形僅表達(da)設(she)計(ji)(ji)(ji)意(yi)圖,反(fan)復(fu)(fu)修改(gai)逐步走向(xiang)完(wan)美(mei)(mei)(mei)的(de)(de)(de)(de)(de)成(cheng)(cheng)功(gong)。許多(duo)藝(yi)(yi)(yi)人(ren)(ren)(ren)往往十年磨一(yi)劍(jian),優(you)秀(xiu)(xiu)完(wan)美(mei)(mei)(mei)的(de)(de)(de)(de)(de)造(zao)(zao)型(xing)(xing)(xing)往往一(yi)直(zhi)在(zai)反(fan)復(fu)(fu)修改(gai),常制(zhi)(zhi)(zhi)常新(xin)的(de)(de)(de)(de)(de)過程(cheng)。它(ta)(ta)(ta)(ta)如寫文章(zhang)一(yi)樣,初稿(gao)很快就完(wan)成(cheng)(cheng),但(dan)需反(fan)復(fu)(fu)修改(gai),有(you)(you)(you)(you)著漫(man)長推敲(qiao)的(de)(de)(de)(de)(de)過程(cheng)。賞析一(yi)個完(wan)美(mei)(mei)(mei)的(de)(de)(de)(de)(de)造(zao)(zao)型(xing)(xing)(xing),不必計(ji)(ji)(ji)較(jiao)全(quan)(quan)手(shou)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)或工(gong)(gong)(gong)(gong)(gong)(gong)(gong)模(mo)具(ju)(ju),應(ying)鑒(jian)賞它(ta)(ta)(ta)(ta)的(de)(de)(de)(de)(de)藝(yi)(yi)(yi)術(shu)價值,辨鑒(jian)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)處理(li)的(de)(de)(de)(de)(de)完(wan)美(mei)(mei)(mei)性和(he)獨到之處。宜興紫(zi)(zi)砂(sha)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)有(you)(you)(you)(you)具(ju)(ju)獨特(te)(te)的(de)(de)(de)(de)(de)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)操作(zuo)過程(cheng)。因為他集陶(tao)瓷、漆器(qi)、紅木、金銀(yin)器(qi)、玉器(qi)、青銅諸(zhu)家(jia)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)之大成(cheng)(cheng),取(qu)各家(jia)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)之長,為紫(zi)(zi)砂(sha)陶(tao)所(suo)(suo)用(yong)(yong)。成(cheng)(cheng)功(gong)的(de)(de)(de)(de)(de)陶(tao)藝(yi)(yi)(yi)家(jia),有(you)(you)(you)(you)來自師徒傳(chuan)承,學有(you)(you)(you)(you)所(suo)(suo)成(cheng)(cheng)的(de)(de)(de)(de)(de);有(you)(you)(you)(you)外地(di)來宜興,帶一(yi)技(ji)之長發展的(de)(de)(de)(de)(de),各派各家(jia)走出一(yi)條獨特(te)(te)的(de)(de)(de)(de)(de)成(cheng)(cheng)功(gong)之路(lu)(lu)。即遵(zun)循紫(zi)(zi)砂(sha)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)陶(tao)自身特(te)(te)有(you)(you)(you)(you)的(de)(de)(de)(de)(de)成(cheng)(cheng)型(xing)(xing)(xing)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)技(ji)巧,以粉砂(sha)巖陶(tao)土(tu)為特(te)(te)性的(de)(de)(de)(de)(de)工(gong)(gong)(gong)(gong)(gong)(gong)(gong)藝(yi)(yi)(yi)之路(lu)(lu)、制(zhi)(zhi)(zhi)作(zuo)優(you)秀(xiu)(xiu)作(zuo)品問(wen)世(shi),廣為人(ren)(ren)(ren)民(min)歡迎。
紫砂壺明針不到位會有紫砂壺燒制后出現如壺把變形,壺身有明顯暗痕等瑕疵。
壺(hu)身(shen)明針沒有(you)做(zuo)到位(wei)而導(dao)致紫砂壺(hu)燒制(zhi)后出現如壺(hu)把(ba)變(bian)形,壺(hu)身(shen)有(you)明顯暗痕(hen)等現象的(de),才稱(cheng)為瑕疵,或者次品。
基本介紹
紫砂壺是(shi)中國特有的(de)手工制造陶土(tu)工藝(yi)品,其制作始于明朝正德(de)年(nian)間(jian)(jian),制作原(yuan)料為紫砂泥,原(yuan)產地(di)在江(jiang)蘇宜興丁蜀鎮。從明武宗正德(de)年(nian)間(jian)(jian)以(yi)來紫砂開(kai)始制成壺,名(ming)家(jia)輩出,500年(nian)間(jian)(jian)不斷有精品傳世。據說紫砂壺的(de)創始人是(shi)中國明朝的(de)供春。
從(cong)明正德嘉靖年間供春的(de)樹(shu)癭壺(hu)、六瓣(ban)圓囊壺(hu),到季漢生創意設計、曹安祥制(zhi)作(zuo)的(de)。同時能(neng)泡兩種(zhong)茶水的(de)紫(zi)砂(sha)鴛(yuan)鴦茶器(qi)—中華龍壺(hu),再到佛門(men)紫(zi)砂(sha)藝術家延芫制(zhi)作(zuo)的(de)—法乳壺(hu),每(mei)一把壺(hu)都獨(du)具匠心,在壺(hu)的(de)欣賞性上下足功(gong)夫(fu)。
因為有了藝術性(xing)和實用性(xing)的(de)結合,紫(zi)砂(sha)壺(hu)(hu)才彌足(zu)珍貴,令人回味(wei)無窮。更加上紫(zi)砂(sha)壺(hu)(hu)泡(pao)茶(cha)的(de)好處、和茶(cha)禪一味(wei)的(de)文(wen)化(hua)氣息,這(zhe)就增加了紫(zi)砂(sha)壺(hu)(hu)高貴不俗的(de)雅(ya)韻。
制作原料為(wei)紫(zi)(zi)(zi)(zi)砂(sha)(sha)泥,原產地在江蘇宜興丁蜀鎮又名宜興紫(zi)(zi)(zi)(zi)砂(sha)(sha)壺(hu)。據說紫(zi)(zi)(zi)(zi)砂(sha)(sha)壺(hu)的(de)(de)創始人是中國明朝的(de)(de)供春。因為(wei)有了藝術性和(he)(he)實用(yong)性的(de)(de)完(wan)美結(jie)合,紫(zi)(zi)(zi)(zi)砂(sha)(sha)壺(hu)才這樣珍(zhen)貴,令人回(hui)味(wei)無(wu)窮。更加(jia)上紫(zi)(zi)(zi)(zi)砂(sha)(sha)壺(hu)泡(pao)茶(cha)的(de)(de)好處(chu)、和(he)(he)茶(cha)禪一(yi)味(wei)的(de)(de)文化,這就又增加(jia)了紫(zi)(zi)(zi)(zi)砂(sha)(sha)高貴不俗(su)的(de)(de)雅韻。
本文(wen)地址://n85e38t.cn/chaqi/9039.html.
聲明: 我(wo)們(men)(men)致力于(yu)保(bao)護作者版(ban)權,注重分(fen)享(xiang),被(bei)刊用(yong)文(wen)章因無法核實真實出(chu)處,未能及時(shi)與作者取得聯系,或有版(ban)權異議的,請聯系管理員,我(wo)們(men)(men)會立(li)即(ji)處理,本站部分(fen)文(wen)字與圖片資源(yuan)來(lai)自于(yu)網絡,轉載(zai)是出(chu)于(yu)傳遞更多(duo)信息之目的,若有來(lai)源(yuan)標注錯誤(wu)或侵犯了您的合法權益,請立(li)即(ji)通知(zhi)我(wo)們(men)(men)(管理員郵(you)箱:),情況屬實,我(wo)們(men)(men)會第一時(shi)間予以刪除,并同時(shi)向(xiang)您表(biao)示歉意,謝謝!
上一篇(pian): 紫砂壺(hu)的數(shu)目高好(hao)還是低好(hao)
下一篇: 紫砂壺茶(cha)山好還是不好